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Books on the topic 'Tool (Musical group)'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Pilchak, Angela M. Contemporary Musicians. Thomson Gale, 2004.

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Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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Pilchak, Angela M. Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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Pilchak, Angela M. Contemporary Musicians. Thomson Gale, 2007.

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Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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Pilchak, Angela M. Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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Pilchak, Angela M. Contemporary Musicians. Thomson Gale, 2006.

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Pilchak, Angela M. Contemporary Musicians. Thomson Gale, 2006.

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Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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12

Keenan, Maynard James, and Sarah Jensen. Perfect Union of Contrary Things. Leonard Corporation, Hal, 2016.

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Keenan, Maynard James. A Perfect Union of Contrary Things. Backbeat, 2018.

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Keenan, Maynard James, and Sarah Jensen. Perfect Union of Contrary Things. Leonard Corporation, Hal, 2016.

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Roust, Colin. Georges Auric. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190607777.001.0001.

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Although Georges Auric (1899–1983) is best remembered today for his affiliation with the Groupe des Six, his musical career was long, productive, complex, and intimately attuned to the realities of modern life. His polyvalent career—as a composer of concert, theatrical, ballet, popular, film, and television music; music critic; opera director; and arts administrator—reveals a diversity of engagements that speak to a reconfiguration of the role of the composer in the modern world. Auric was a product of his time, with deep connections to France’s artistic, social, and political elites. At the s

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Diago Ortega, José-Modesto. The Battle for Control of the Brass and Instruments Business in the French Industrial Revolution. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198895053.001.0001.

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Abstract This book narrates and analyses the largest judicial battle in culture and industrial property in nineteenth-century Europe (and probably in the world), the echoes of which still ring today. Interestingly, the fight was motivated by some rather simple wind instruments made of brass and their related patents, not by opera—the musical genre that moved the most money and people at the time—or the always revered and contentious high art. The legal confrontation began when a group of French businessmen who built wind instruments saw their business threatened because the Army forced them to

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Jorritsma, Marie. Hidden Histories of Religious Music in a South African Coloured Community. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.13.

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This chapter explores persistent traces of both indigenous and Euro-colonial music traditions in the church music of South African coloured people (a group of mixed racial heritage that was marginalized and oppressed by the apartheid regime). The author characterizes these persistent historical traces in coloured people’s performance style as “hidden transcripts” (following James Scott). Through the powerful historiographic tool of ethnomusicological listening, this chapter points to colonial as well as “African” traces surviving in contemporary musics and locates both encounter and resistance

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Bourne, Janet. Who Listens? Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197797204.001.0001.

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Abstract This book examines the oft-ignored importance of who is listening and how they are listening when analyzing music. It argues that listening is an active and creative act, and that people make sense of music largely by drawing on previous experiences, particularly experiences with music. According to cognitive science, listeners use a musical form of analogy and categorization to relate what they previously heard to what they hear in the moment. To demonstrate that listeners draw on this experience to perceive meaning when listening, the author combines music analytic tools (specifical

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Martin, Denis-Constant. Sounding the Cape: Music, Identity and Politics in South Africa. African Minds, 2013. http://dx.doi.org/10.47622/978-1-920489-82-3.

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For several centuries Cape Town has accommodated a great variety of musical genres which have usually been associated with specific population groups living in and around the city. Musical styles and genres produced in Cape Town have therefore been assigned an ìidentityî which is first and foremost social. This volume tries to question the relationship established between musical styles and genres, and social --in this case pseudo-racial --identities. In Sounding the Cape, Denis-Constant Martin recomposes and examines through the theoretical prism of creolisation the history of music in Cape T

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Greher, Gena R., and Jesse M. Heines. Computational Thinking in Sound. Oxford University Press, 2014. http://dx.doi.org/10.1093/oso/9780199826179.001.0001.

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With Computational Thinking in Sound, veteran educators Gena R. Greher and Jesse M. Heines provide the first book ever written for music fundamentals educators that is devoted specifically to music, sound, and technology. Using a student-centered approach that emphasizes project-based experiences, the book provides music educators with multiple strategies to explore, create, and solve problems with music and technology in equal parts. It also provides examples of hands-on activities that encourage students, alone and in groups, to explore the basic principles that underlie today's music techno

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9780197673157, Annie Fullard, and Dorianne Cotter-Lockard. The Art of Collaboration. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197673126.001.0001.

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Abstract This book invites all interested in cultivating a higher level of group artistry to gain a deeper understanding of working productively and joyfully within a musical ensemble. The concepts and techniques in this book help artists develop a vocabulary and tools to refine their music making process and learn how to work well as a team. It offers a systematic approach to individual preparation for rehearsal, score study, planning and implementing a constructive and effective rehearsal, and the interpretive process. The authors address tension and conflict within groups, including strateg

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Alcorta, Candace S., and Richard Sosis. Ritual, Religion, and Violence. Edited by Michael Jerryson, Mark Juergensmeyer, and Margo Kitts. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199759996.013.0038.

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This chapter, which discusses the association between religion and violence, also addresses why suicide terrorists are willing to offer their lives for their life-affirming religions. Religious violence and “sacred pain” have long been significant components in the mythology and ritual of Western religious traditions. Religious rituals differ widely across cultures. Music intensifies the ritual experience itself, transforming the ordinary into the extraordinary and laying the foundation for creation of the sacred. Religious ritual is an efficient tool for altering group cooperation and cohesio

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Bourdaghs, Michael K., Paola Iovene, and Kaley Mason, eds. Sound Alignments. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478013143.

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In Sound Alignments, a transnational group of scholars explores the myriad forms of popular music that circulated across Asia during the Cold War. Challenging the conventional alignments and periodizations of Western cultural histories of the Cold War, they trace the routes of popular music, examining how it took on new meanings and significance as it traveled across Asia, from India to Indonesia, Hong Kong to South Korea, China to Japan. From studies of how popular musical styles from the Americas and Europe were adapted to meet local exigencies to how socialist-bloc and nonaligned Cold War o

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Peterson, James W., and William J. Peterson. Political Dreams and Musical Themes in the 1848–1922 Formation of Czechoslovakia. The Rowman & Littlefield Publishing Group, 2023. https://doi.org/10.5040/9781978723245.

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Political Dreams and Musical Themes in the 1848–1922 Formation of Czechoslovakia: Interaction of National and Global Forces characterizes the 1918–22 formation of Czechoslovakia as a consequence of political and musical expressions. Nationalist expressions and formations were striking after the 1848 Revolution. The authors explore how the music of Smetana, Janácek, and Dvorák inspired people with reminders about the important achievements of past Bohemian leaders. Under the control of the Vienna-based Habsburg Empire, Czech leaders also achieved more political representation in both Habsburg a

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Butt, Gavin. No Machos or Pop Stars. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478023234.

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After punk’s arrival in 1976, many art students in the northern English city of Leeds traded their paintbrushes for guitars and synthesizers. In bands ranging from Gang of Four, Soft Cell, and Delta 5 to the Mekons, Scritti Politti, and Fad Gadget, these artists-turned-musicians challenged the limits of what was deemed possible in rock and pop music. Taking avant-garde ideas to the record-buying public, they created Situationist antirock and art punk, penned deconstructed pop ditties about Jacques Derrida, and took the aesthetics of collage and shock to dark, brooding electro-dance music. In N

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Manzo, V. J. Max/MSP/Jitter for Music. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780199777679.001.0001.

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In Max/MSP/Jitter for Music, expert author and music technologist V. J. Manzo provides a user-friendly introduction to a powerful programming language that can be used to write custom software for musical interaction. Through clear, step-by-step instructions illustrated with numerous examples of working systems, the book equips you with everything you need to know in order to design and complete meaningful music projects. The book also discusses ways to interact with software beyond the mouse and keyboard through use of camera tracking, pitch tracking, video game controllers, sensors, mobile d

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Siwe, Thomas. Artful Noise. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.001.0001.

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A substantial body of musical literature for solo and ensemble percussion was created in the twentieth century. This book examines percussion literature’s evolution: how it came to be and the styles that composers embraced as they produced a large body of music for percussion instruments alone. The focus is on the music that was created, the various genres that arose, and the composers who contributed seminal works. The question is posed: What world and cultural events brought composers to reject the past and embrace modernism? The twentieth century is notable for its many technological advanc

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Quevedo, Marysol. Experimental Music and the Avant-garde in Post-1959 Cuba. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0014.

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This chapter examines how experimental music in the 1960s in Cuba reached wider audiences as a product of the cultural policies of the Cuban Revolution and of the aesthetic goals of a particular set of individuals who took advantage of the new cultural institutions to promote experimental music under the banner of vanguardia. As music advisor of the Orquesta Sinfónica Nacional, Juan Blanco programed new music by international and Cuban composers. As music director of the Instituto Cubano de Artes e Industrias Cinematográficas, Leo Brouwer recruited composers who shared his interest in experime

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Horne, Aaron. Brass Music of Black Composers. Greenwood, 1996. http://dx.doi.org/10.5040/9798400621123.

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Aaron Horne provides the most comprehensive guide to brass music written by black composers. He covers composers from around the world in the 19th and 20th centuries. Included in the book is biographical information; commission, duration, instrumentation, date of publication, premiere, publisher, discography for each piece; bibliographical sources; and an index which groups the music by numbers, medium, and ensemble. This is the fourth volume in Aaron Horne's monumental effort to provide the most comprehensive guide to music composed by black composers. In this volume he covers composers from

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Jenke, Tyler. TISM's Machiavelli and the Four Seasons. Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9798765114124.

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An in-depth look at the rise of enigmatic Australian rock band TISM, the unexpected success of their 1995 album,Machiavelli and the Four Seasons, and the continued trajectory of their storied career. Focusing on one of Australia’s most enigmatic bands, This Is Serious Mum (better known as TISM), Tyler Jenke forms an in-depth analysis of the anonymous, pseudonymous Melbourne collective’s rise to prominence and unlikely success on the popular music charts with their third album,Machiavelli and the Four Seasons(1995). Jenke details TISM’s origins as they slowly went from a bedroom concept to an u

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Beal, Amy C. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039157.003.0012.

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This introductory chapter recounts Johanna Beyer's arrival in New York City. Beyer first lived in New York from April 1911 until June 1914. She then sang for three years in the Leipziger Singakademie and graduated from a German music conservatory in September 1923. She returned to New York on November 14, 1923. In the years following her arrival in New York, Beyer earned two degrees from the Mannes School of Music, and she took additional classes at Mannes through 1929. During her life after 1927 and until her passing in 1944, she composed all of the music available today: works for piano, per

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Du Mont, Mary. The Mozart-Da Ponte Operas. Greenwood, 2000. http://dx.doi.org/10.5040/9798400688010.

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This reference guide provides access to almost 1,000 books, book chapters, articles, and dissertations about the three Mozart-Da Ponte operas,Le nozze di Figaro,Don Giovanni, andCosi fan tutte. Mozart and Da Ponte collaborated on these operas between 1786 and 1791. The literature detailed in this volume includes material published from Mozart's death to the present. Following an introduction to the operas, the bibliography section lists the literature by works in general and by each of the three operas. A discography groups entries by opera and original recording date. This guide will appeal t

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Gentry, Philip M. Singing Smoothly. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190299590.003.0002.

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The early R&B vocal group the Orioles are often credited with launching the musical style later known as doo-wop, especially with their 1949 hit “It’s Too Soon to Know” and their last charting number, “Crying in the Chapel” (1953). Their smooth romantic ballads became some of the first crossover hits of the postwar era, and were an alternative to more aggressive masculinities emerging out of the jump blues. This chapter illustrates this choreography of gender through live stage shows, recordings, interviews, and period reviews in the African American press. The short-lived periodical Tan C

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Wade, Stephen. Nashville Washboard Band. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036880.003.0005.

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This chapter describes the recordings of the Nashville Washboard Band. In the spring of 1942 Fisk University music professor John W. Work III welcomed a quartet of street musicians called the Nashville Washboard Band into his home. This visit marked the first of two. The second took place that July when the group, bringing along a fifth player, returned to make their sole recordings. The group was a frequent sight in downtown Nashville, playing less than a hundred feet from the War Memorial Auditorium, where the Grand Ole Opry broadcast its weekly radio show. When not stationed there or beside

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Goldsmith, Thomas. Earl Scruggs and Foggy Mountain Breakdown. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042966.001.0001.

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Earl Eugene Scruggs (1924-2012) came from the hills of North Carolina and learned the banjo from the days he was too small to hold it properly. While still a schoolboy in Boiling Springs, North Carolina, he developed the high-powered three-finger picking method that both him and the banjo famous. At age 21, he joined the founder of bluegrass music, Bill Monroe, on the Grand Ole Opry, completing a sound that Monroe had worked to conceive. Leaving Monroe in 1948, Scruggs and guitarist Lester Flatt started their own group and made recordings including “Foggy Mountain Breakdown.” The lightning-fas

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Brend, Mark. The Sound of Tomorrow. Bloomsbury Publishing Plc, 2012. http://dx.doi.org/10.5040/9781501382888.

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London, 1966: Paul McCartney met a group of three electronic musicians called Unit Delta Plus. McCartney was there because he had become fascinated by electronic music, and wanted to know how it was made. He was one of the first rock musicians to grasp its potential, but even he was notably late to the party. For years, composers and technicians had been making electronic music for film and TV. Hitchcock had commissioned a theremin soundtrack for Spellbound (1945); The Forbidden Planet (1956) featured an entirely electronic score; Delia Derbyshire had created the Dr Who theme in 1963; and by t

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McAllister, Lesley S. Yoga in the Music Studio. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915001.001.0001.

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The ancient practice of yoga, which has exploded in popularity in the United States over the past two decades, has the potential to help music students learn to practice more mindfully and reach peak performance more quickly. This book explores how professional musicians and music teachers of all instruments and levels can use yoga postures (asana) and breath work (pranayama) to enhance artistry. It begins with an overview of yoga philosophy and history before delving into principles of movement, alignment, anatomy, and breath. Following a research-oriented chapter illustrating the cognitive,

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Jarjour, Tala. Chant as Local Knowledge. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635251.003.0004.

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This chapter is the second of two that focus on local forms of music knowledge. After the previous chapter dealt with written sources on Syriac chant, this one pursues analytical tools for understanding local conceptions of modality through ethnographic observation of the process of oral chant practice. It tackles the problematic questions of whether Syriac chant submits to an eightfold system, and whether its eight groups have a modal nature. By addressing contested issues, such as music theory and transcription, the chapter argues that understanding music involves understanding overlapping f

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Winton, Alais. More Fun Games and Activities for Children with Dyslexia. Jessica Kingsley Publishers, 2022. http://dx.doi.org/10.5040/9781805015734.

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Dyslexic teacher Alais Winton is back with all-new games and activities to make learning simple and fun. This inventive and practical workbook is packed with tried-and-tested games and activities to help children aged 7-13 who have dyslexia. It is ideally suited to home-schooling, independent learning, or classroom or small group setting, and includes activities such as The Multiply Matrix Game, Drop the Ball and Number Tag. The book is packed with cartoons, and there's a quiz at the start to help you discover whether you learn best from pictures, movement, socially or through music. You can u

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Bakan, Michael B. Maureen Pytlik. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190855833.003.0008.

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In 2017, Maureen Pytlik graduated from Ottawa’s Carleton University with degrees major in both clarinet performance and mathematics. Her curriculum also included advanced music theory studies and West African drumming and dance. She describes her West African dance experiences as transformative. “I was quite happy to open up and be awkwardly uncoordinated,” she relates, “because it was something that created a lot of group bonding in a way. Feeling part of the group was very important to me because having Asperger’s means it’s not something that I experience easily.” African dance, and drummin

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Lambert, Philip. Evolutions. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037603.003.0003.

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This chapter examines Wilder's compositional maturity in the 1950s. From the late 1940s through the 1950s, Wilder pursued a long-held goal with growing confidence and perseverance. Having made his name as a songwriter-arranger, he now aspired to become more of a “composer.” He never abandoned the popular song but he found himself drawn more and more to the sounds and artistic sensibilities of the theater, opera house, and concert hall. Wilder's turn toward concert music was inspired, in his mind, by his association and friendship with his Eastman confrère John Barrows. Barrows took on a role f

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Ehrenfried, Lara. Literature and Sound Film in Mid-Century Britain. Oxford University PressOxford, 2025. https://doi.org/10.1093/9780198950790.001.0001.

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Abstract What happened to cinema and literature upon the introduction of synchronized sound film? Literature and Sound Film in Mid-Century Britain studies the paths of film and text following the introduction of synchronized sound in the late 1920s. It asks how British cinema responded to the introduction of sound and how mid-century literature took up the challenge of the synchronized, audio-visual entertainment experience offered by this media change. By examining the technological history of film and its narrative strategies and by drawing links to literary culture, this study offers a new

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McClellan, Lawrence. The Later Swing Era, 1942 to 1955. Greenwood, 2004. http://dx.doi.org/10.5040/9798400676864.

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Today's Retro Swing bands, like the Squirrel Nut Zippers and the Brian Setzer Orchestra, all owe their inspiration to the original masters of Swing. This rich reference details the oeuvre of the leading Swing musicians from the WWII and post-WWII years. Chapters on the masters of Swing (Ella Fitzgerald, Woody Herman, Billy Strayhorn), the legendary Big Band leaders (such as Les Brown, Dizzy Gillespie, Stan Kenton, Buddy Rich, Vaughan Monroe, etc.), vocalists (including Cab Calloway, Billie Holiday, Peggy Lee, Frank Sinatra, Sarah Vaughn, Dinah Washington), and Small Groups (Louis Jordan, Art T

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Uy, Michael Sy. Ask the Experts. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197510445.001.0001.

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From the end of World War II through the U.S. Bicentennial, the National Endowment for the Arts, the Rockefeller Foundation, and the Ford Foundation granted close to $300 million (approximately $2.3 billion in 2017 dollars) in the field of music alone. In deciding what to fund, these three grantmaking institutions decided to “ask the experts,” adopting seemingly objective, scientific models of peer review and specialist evaluation. They recruited music composers at elite institutions, professors from prestigious universities, and leaders of performing arts organizations. Among the most influen

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Pomer, Janice. Elementary Dance Education. Human Kinetics, 2023. http://dx.doi.org/10.5040/9781718227408.

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Children love to observe, explore, learn, and create. Elementary Dance Education helps them do all four. And it does so in a unique way, shaping its movement activities around nature themes. In fact, all of the learning experiences are based on different aspects of nature, as the text intertwines children’s innate curiosity and observation skills with the processes of scientific inquiry and artistic creation. Elementary Dance Education helps teachers develop the instructional skills they need to incorporate dance into their curricula, providing over 70 movement activities and exercises for stu

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Francis, Leslie P., and John G. Francis. Privacy. Oxford University Press, 2017. http://dx.doi.org/10.1093/wentk/9780190612269.001.0001.

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We live more and more of our lives online; we rely on the internet as we work, correspond with friends and loved ones, and go through a multitude of mundane activities like paying bills, streaming videos, reading the news, and listening to music. Without thinking twice, we operate with the understanding that the data that traces these activities will not be abused now or in the future. There is an abstract idea of privacy that we invoke, and, concrete rules about our privacy that we can point to if we are pressed. Nonetheless, too often we are uneasily reminded that our privacy is not invulner

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Johansen, Bruce, and Adebowale Akande, eds. Nationalism: Past as Prologue. Nova Science Publishers, Inc., 2021. http://dx.doi.org/10.52305/aief3847.

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Nationalism: Past as Prologue began as a single volume being compiled by Ad Akande, a scholar from South Africa, who proposed it to me as co-author about two years ago. The original idea was to examine how the damaging roots of nationalism have been corroding political systems around the world, and creating dangerous obstacles for necessary international cooperation. Since I (Bruce E. Johansen) has written profusely about climate change (global warming, a.k.a. infrared forcing), I suggested a concerted effort in that direction. This is a worldwide existential threat that affects every living t

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